There is no abstract available for this thesis. / School of Music

Thesis (M.A.)--Eastern Illinois University, 2008.

Diss.--Berlin, 1991. / Bibliogr. p. 256-282. Index.

Thesis (D.M.A.)--University of Texas at Austin, 2004. / Supervisor: Kevin Puts. Vita. Includes bibliographical references.

Except for a group of three songs, the two piano concertos were the last things Ravel wrote. They have been said to be the culmination of Ravel's style; and, since they were written simultaneously, much attention has been drawn to a comparison of the two, particularly with emphasis on their divergent features. It is the purpose of this paper to show the interesting circumstances under which these concertos came to exist, to acknowledge the differences recognized by authors and critics, and to point out some important ways in which these concertos are similar to each other.

Concerto for Marimba and Orchestra is a twenty-two minute work cast in a traditional three movement concerto form. The basic harmonic/melodic materials are hexads and complementary hexads built on intervallic projections as propounded in Howard Hanson's Harmonic Materials of Modern Music. The opening movement is in double exposition form with a cadenza before the recapitulation. Marimba techniques used in the opening movement include chromatic thirty-second notes, mirrored octaves and single hand alternate sticking patterns. The form of the second movement is a rondo song form: a- b- a (inversion)- b (inversion)- c- c (retrograde)- b (retrograde-inversion)- a. The marimba plays rolled chords throughout much of the movement. The form of the third movement is a fast sonata-rondo form: a - b - a - development - b - a - coda. The development section of this final movement develops materials from both of the preceding movements and thus creates a cyclic form for the work. Marimba techniques explored in the third movement include dead strokes, octave dead strokes alternating with rolled octaves and, thirty-second note hexad patterns in fast alternation with the orchestra. This movement also contains sections in which the xylophone plays in duet with the marimba. Some of the compositional techniques used in the Concerto for Marimba and Orchestra include rhythmic modulation, augmentation, diminution, ostinato, inversion, retrograde, mirroring, odd meters, fragmentation, parallel motion, contrary motion, African rhythmic structure, harmonization with complementary sets and register sweeps.

Texte remanié de: Thèse de doctorat--Musicologie--Paris 4, 2003. / La couv. porte en plus : "musicologie" Bibliogr. p. 291-313. Index.

Treatise (D.M.A.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

Reciprocity / James Meador --Sang till Lotta / Jan Sandstrom -- Tuba concerto / John Williams -- Vier ernste Gesange / Johannes Brahms -- The dern / Dennis Llinas. / text

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